Brighter areas are painted near the top center of the canvas
with just Titanium White and a small amount of Yellow Ochre mixture.
More Yellow Ochre is added to the Titanium White as the brush strokes
progress to the outside edges and middle areas of the canvas. Alizarin
Crimson is introduced to the paint mix when brushing in the outer bottom
edge but in a very very small amount.

When painting have in mind a general sense of where
you would like your focal point to be. Where are the contrasts in your
composition to be placed? As your painting progresses the focal area
may change some but it is good to have an idea as to is location. Adjustments
of these light and dark areas will also be determined by where your
art subject is placed on the canvas.

What, Clouds Are Not White?

We generally image clouds are white with a silver lining.
But if you look at the reference photo for this oil painting the clouds
are dark and not white at all. These cloud formations are in shadow.
Sunlight is directly behind the clouds giving this appearance. The only
white and bright white it is, comes from the area of clear sky near
the sun. We can think of it somewhat like painting the negative image
of clouds of an exposed camera film.

OIL PAINTING IMAGE TWO

The colors that
I'm going to use for painting these clouds is a mixture of Viridian
and Alizarin Crimson. Combining these two colors creates a Black color
mixture that is then lightened with white to get a desired Gray blend.
I may also brush in some Cobalt
Blue mixed with Alizarin Crimson for a Violet type of color. Violet
is across the color wheel of Yellow so this will work great for cloud
shadows and make the painted sky come to life.

When brushing in
your dark clouds be mindful of where you're going to be placing your
contrasts. These are the dark and light areas that create the focal
point. How you lay out the foundation of your painting composition effects
the end result of your artwork.

Foreground and Lily Flower Base Coat Painted In.

I've brushed in the foreground and painted in the Lily
flower. Burnt Umber, Yellow Ochre, Sap Green and some Lemon Yellow where
the artist paint colors used. I like working my paintings this way to
tell me my art composition is correct or not. I'm able to make adjustments
in color values and contrasts of lights or darks before I reach the
final stroke of completing the painting.

OIL PAINTING IMAGE THREE

Take for instance
the dark brownish area to the left and bottom of the flower. This is
where the focal point seems to demand the current attention. It is not
where I'd like ones vision to be. In a round about way the painting
lets me know that darker areas need to be brushed in else where. Areas
of consideration are the leaves of the Lily where they reach up into
the sky could use more contrast to move the eyes up. Also the clouds
around some of the Lily's pedals may have their value changed to command
more attention.

Notice the where your focal point is directed to as you compare
the images of TWO and THREE. Doesn't the sky area demand your vision
in image TWO where as the dark foreground in image THREE does? And after
some more painting the focal point remains around the Lily flower in
image FOUR.

Lily Flower Takes on
Realistic Shape with Rich Color and Shaded Areas

Here the Lily flower
is becoming more realistic as the features of the plant take on a more
distinct shape as dark rich green colors are brushed in. The leaves
and the pedals of the flower begin to stand out from the background
of the canvas. It's by shading specific areas of the plant that this
effect of which is near 3d is created. In my mind I want to see the
cast shadows on my art subjects such as the Lily flower before painting
begins and as it is painted. A walk in a flower garden is good time
for studying floral plant shadows during a warm sunny day.

OIL PAINTING IMAGE FOUR

Changed Landscape in Oil Painting

I wasn't happy with a dirt
road and meadow as a landscape background for complimenting the Lily
flower. So I've removed them and painted in a pond with some rocks instead.
By changing the painting this way I now have two areas that compliment
the yellow lily flower. The sky color reflections on the many painted
rocks and water will let me make painting adjustments that effect the
focal point of the flower. It will be as if the cloudy sky and reflective
pond are cheering on the flower.

Artist oil color Yellow
Ochre
is used along with Titanium
White
and Colbat
Blue
for the highlights on the water. Yellow Ochre gives a warm glowing effect
when mixed with Titanium White on the canvas. It was also used in the
sunlight area and so those sky colors then need to be reflected in the
composition. What we see around us is the result of applied light. See
image FIVE.